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[Liam Croft]

I recently did a few gigs with an orchestra/rock band combo and we exclusively used 4099s for strings, and a mixture of c414s and dpa 2011s for woodwind, brass and percussion. Even with fewer than 10 mics on stands, there was very little room spare on the orchestra riser, so I’d consider using all clip ons if space is a consideration.

I also found most of the string players mic’d themselves up before I even had a chance (to a good standard!) and I had to do very little adjustment.

The company I work for does quite a few classical jobs and we also regularly use 4061s for strings, although personally I find them a bit more fiddly than 4099s (still sound great though)

[Miguel Dahl]

theirs a fascinating series on Youtube on this very topic

https://www.youtube.com/watch?v=UT-AZAf997c&list=PLVvj5hGX6tm0GfBAN4GMoAgaHPRLoRaTs

This is one of the very best videos I've ever seen. Thank you! Very interesting. It's not a short 10min video, this is a sitting.

And I must say, this guy in the video says that soundcheck for an entire orchestra shouldn't need to take more than five minutes. Different setting but still I thought about the BE's which use 50% of the dedicated 60 minute check time for a band, on just the drums!

[Oliver Thiel]

With Rockband the most important thing will be channel separation. You do not want to have fantastic sounding Violins with overhead mics, when you turn up the rock bands drums with your violinfader.
I go with 4099 or 4061(or similar omnis like mke2 with the dpa violin holder) for the strings. Sometimes AT Pro35 or 350 will be ok for doublebass or celli as well.
For french horns and woodwinds i use AT857 goosenecks.(They're very flexible, small and fast in setup and i have 20 of them) Flutes also work very good with 4066 or other omni headset.
Trumpets M201 per player. Trombones Rode NT1 per player, Tuba beta98 clip on.
For mallets i use sdc, timpani 2 figure8 akg 414 directly between the drums, gran cassa bassdrum-mic du jour - mostly B52 or RE20.
Plexi-shields all over the place.

I go with mic combiners for same instrument, same mic to reduce channel count.

I am happy to have an Astro Spatial Audio localization and room simulation system. That gives me perfect localization of the  sources on stage and due to the many speakers that emit decorrelated sound i have a lot more gain before feedback.
Here's a link to a rehearsal-video of a crossover show i did last christmas, where you can hear, that i easily could mix the orchestra with 30omnis on strings over the Band without feedback issues.
Bandmonitoring was completely on wedges...
https://www.facebook.com/thomas.spanier.3/videos/1868197516563159/UzpfSTEwMDAwMzg2NjY1NzQwMDoxMTkwNTA3MTk0NDIxNDkx/
It's absolutely worth checking out the immersive systems like Astro, L'Isa or d&b Soundscape. Once you use one of those you will never go back to stereo again ;-)
The additional need for speakers is not too big. In the video above I used the House Systems LCR speakers and added 8  8/1" speakers in frontfill position. That's just 4 more front fills than i would have used there anyway.
Hope that wasn't too much information...

[Árni F. Sigurðsson]

I did this show (monitors). We re-did it again in 2018 with a few changes
https://www.youtube.com/watch?v=5yHsmZy-YS8

DPA4099 on all strings plus we had a Schertler pickup on all cellos and double basses.

All brass was a dynamic (421, 57). Woodwinds was condensers, mic per instrument, some flute had two mics if I remember (Sennheiser MKH-40 mostly).

Mix of condensers and dynamics for percussion.

Band was all on IEM, no amps on stage. Monitors were there for backup, footrest and guest singers.

[ProSoundWeb Community]